Analyzing a solo, being aware of the patterns inside may help you avoid playing the same licks over and over again. Try to identify the following:
Thirds, sixths and fourths are the most popular intervals. Sometimes they come with a grace note.
Starting from a note of the scale and play the note itself, the third and the fifth. For example, for C-major: C, E, G; D, F, A; E, G, B; F, A, C; G, B, D; A, C, E; B, D, F. As you see, you get major, minor and diminished triads. They can be played as a group of 3, 6, 7, 9, 10, 13 notes or whatever.
Adding the seventh to the triads you get 7th chord arpeggios. For example, for C-major: C, E, G, B; D, F, A, C; E, G, B, D; F, A, C, E; G, B, D, F; A, C, E, G; B, D, F, A. You get major 7th, minor 7th, dominant and half-diminished arpeggios.
In major scales you may extract three minor pentatonic scales. For instance, in C-major you've got pentatonic scales starting from A (A, C, D, E, G), D (D, F, G, A, C) and E (E, G, A, B, D).
Add the "blue note" (the flat fifth) to the pentatonic scales and you get blues scales.
Any pattern of adjacent notes.
See some examples in the major scale, in the harmonic minor scale and in the melodic minor scale.
Impressive blog! -Arron
Posted by: rc helicopter | December 21, 2011 at 03:04 AM